I just e-mailed it to Jeremy and sent all three of you pm with a link to it on my Google drive. Hope you don't mind. The quality is worse than I thought sadly. Anyway, though the conversation was short, it was cool to see two of them together, which is a rare thing, isn't it?

Minor thing I thought of - Anderson said Alma is an immigrant from Eastern Europe and I guess I read that before somewhere else. Being Eastern European myself, the name (and also the surname said in the scene Reynolds middle name is also said) does not sound Eastern European to me at all. Or am I missing something?

There was a masterclass with PTA at the premiere I attended. It was filmed so I'll post the link when the video will appear.

NOT REALLY SPOILERS BUT SPOILERS IF YOU DON'T WANT TO KNOW ANYTHING

He compared Krieps and Day-Lewis to boxers and that he had never seen someone being like that with Daniel. He gave an example: at some point in a scene at the beginning of the movie, she gives a long pause and PTA said that he could sense Day-Lewis wondering if she were fucking with him or if she had forgotten the line and, just when it was too much, she said her line...

AND REAL SPOILERS

And he lied about the breakfast scene, saying that no sound was made more noisy than it was, which is total bullshit since there is a whole article about the sound design of that scene. It was such an unnecessary lie!

This year more than ever, the best picture contenders seem to be a who's who of diversity and inclusion.

A gay romance, a racial satire, a feminist coming-of-age, an anti-Trump protest film, a fantasy sci-fi about social inclusion, a racially-charged drama about police brutality and, not one, but two British movies about the heroism and glory of the politics of yesteryear.

These are all relevant movies, some of them are even good. But they are not the year's best.

They are the Academy's fear of its own shadow.

Quote

But in its clumsy quest to erase past mistakes, the Oscars have become irrelevant - a sub-product of an industry detached from its purpose and muddied by politics.

Still, in the midst of all the box-ticking and crowd pleasing, there is one movie whose artistic flair warrants a place in the pantheon.

Paul Thomas Anderson's Phantom Thread is, in every way, a masterpiece. It's beautiful and strange and unique. The tale of a narcissistic and spoiled couturier who falls in love with a waitress.

For me, personally, Thread is literally the only one of the Best Picture nominees that impressed me. The others I either actively disliked, was disappointed by, or found rather unexceptional.

Thread was my favorite of the nominations, i did like (not love) Shape of Water, and thought Dunkirk was a great tech temo. Hated Three Billboards, was bored by Get Out. The rest I haven't seen.

But Thread was my favorite film of the year hands down (biased of course, but still).

The industry awards have become too political, they literally mean nothing anymore. I probably won't watch, I'll just look up the winners the next day.

Camera Tests With audio commentary by Paul Thomas AndersonFor the Hungry Boy A collection of deleted scenes. Music by Jonny GreenwoodHouse of Woodcock Fashion Show Fashion Show narrated by Adam BuxtonBehind the Scenes Photographs Photographs from the film by Michael Bauman with demo versions of Jonny Greenwood's score

I would love to go to this, and perhaps I might (although, knowing this, it will probably sell out very quickly), but I'm not sure I can go and watch the film again, after watching it again (a DCP). Hopefully the film will be in focus!